the puppet as a figure of the other final P PIRIS 2013 - Central ...

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Chapter III A phenomenological perspective on the alterity of the puppet 693.1. Fabricating the alterity of the puppet 703.1.1. Seaside 703.1.2. Postalgia 75Description of the piece 76Framing the alterity of the puppet 783.1.3. Urashima Taro 843.1.4. The Maids 883.1.5. Main outcomes of the experiments 913.2. Alterity and ontology of the puppet in manipulacting 93Construction of co-presence: body and gaze 933.2.1. The absent Other 102Defining perception and imagination 103Non-psychic images 104The puppet as an image 1073.2.2. The ambiguous ontology of the puppet 1113.3. Conclusion 116Chapter IV Case studies: Two representations of the Other 1194.1. Cuniculus by Stuffed Puppet: Talking heads 1204.1.1. Prerequisite criteria of the relation of self to Other 122The characters 123Design 125Manipulation 1284.1.2. Performing the relation of self to Other in Cuniculus 131Dramaturgy 131Body 134Gaze and voice 1364.2. Twin Houses by Compagnie Mossoux-Bonté: Thinking bodies 1414.2.1. Prerequisite criteria of the relation of self to Other 146Characters and personae in Twin Houses 146The design of the puppets 149Manipulation technique 1524.2.2. Performing the relation of self to Other in Twin Houses 158The dramaturgy 158The body 160Gaze and presence 1638
4.3. Conclusion 166Chapter V The Maids: Ontology, dramaturgy and speech 1715.1. Dramatising the ontological duality of the puppet 1735.1.1. Maids1 1745.1.2. Maids2 1765.1.3. Maids3 1795.1.4. Outcomes 1815.2. The voice of Madame 1825.2.1. Speech movements 1835.2.2. Body position of the performer 1835.2.3. Characterisation and voice 1845.2.4. Voice and gaze 1865.3. Conclusion 187Chapter VI Urashima Taro: An ambiguous dramaturgy of the Other 1906.1. The development of Urashima Taro 1916.1.1. UT1: Otohime, a sporadic presence 1926.1.2. UT2: gaining presence, losing ambiguity 1956.1.3. UT3: Re-establishing ambiguity 1976.1.4. Adapting manipulacting 2016.2. Performing ambiguity 2046.2.1. Relation of power 2046.2.2. The doppelganger 2076.2.3. Intimacy 2106.2.4. Shadows 2126.3. Conclusion 213Chapter VII A method of practice for manipulacting 215Balancing co-presence 216Dual triangulation 217Distant awareness 217Centre of gravity, metaphorical centre and fixed point 218Somatic dialogue 220Gaze 222Speech 2249
Page 1 and 2: THE RISE OF MANIPULACTINGTHE PUPPET
Page 3 and 4: ACKNOWLEDGEMENTSThis research has b
Page 5 and 6: Being and Nothingness (1943), and b
Page 7: TABLE OF CONTENTSNotes for the read
Page 11 and 12: List of figuresFigure 4.1 Tranter a
Page 13 and 14: NOTES FOR THE READERSThe mainspring
Page 15 and 16: staging issues such as characters w
Page 17 and 18: particular form of performance but
Page 19 and 20: performer and the puppet. The start
Page 21 and 22: productions looking at this relatio
Page 23 and 24: already present in the two first ve
Page 25 and 26: • Who is the Other represented by
Page 27 and 28: 2) Member of a proposition about wh
Page 29 and 30: Adrian Mirvish and Adrian van den H
Page 31 and 32: accept the determination of structu
Page 33 and 34: organisation without distance of th
Page 35 and 36: specific effects of alterity. In Ch
Page 37 and 38: company Morbus Théâtre. One of th
Page 39 and 40: Sergei Obraztsov, who embraced Mode
Page 41 and 42: organisations decided to explore ne
Page 43 and 44: However, unlike their fellows from
Page 45 and 46: time of writing this thesis. The di
Page 47 and 48: inspired by other contemporary arti
Page 49 and 50: performances. 3 It is by default or
Page 51 and 52: [Albrecht Roser] trained me in stri
Page 53 and 54: Another level of interaction consis
Page 55 and 56: makes it difficult to provide a gen
Page 57 and 58: elation between the body of the cha
Page 59 and 60:
presence exist in manipulacting. Th
Page 61 and 62:
forcing Tamar to pray alongside him
Page 63 and 64:
perform in venues traditionally ded
Page 65 and 66:
which the presence of the puppet is
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manipulactor to give the impression
Page 69 and 70:
CHAPTER IIIA PHENOMENOLOGICAL PERSP
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weight and tension which can be fru
Page 73 and 74:
ground and her movements were large
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3.1.2. PostalgiaPostalgia is a twen
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ecomes a prisoner. Alongside this r
Page 79 and 80:
ut there is no direct interaction b
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through movements that are read on
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presence of the performer. Yet, suc
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production. It had the longest rese
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their gazes. Although this is partl
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different levels of performance, an
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een integrated into the dramaturgy
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dialogue. Understanding how the alt
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alienation insofar as it engages co
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down on a small table while Nakamur
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However, Sartre disagrees with Hege
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106). The inter-subjective awarenes
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etween imagination and perception i
Page 105 and 106:
Sartre first admits that the impers
Page 107 and 108:
analogous to that which can appear
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interactions between Okoto and Naka
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the impression of an apparent subje
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internal negation is a relation bet
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Pierre as imaged. Conversely, unrea
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As Sartre and Levinas contend, a re
Page 119 and 120:
CHAPTER IVCASE STUDIESTWO REPRESENT
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University to become a teacher, he
Page 123 and 124:
theatre’ as ‘dramatic theatre i
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elated: a particular design affects
Page 127 and 128:
head and occasionally the arms. The
Page 129 and 130:
audience’s point of view. The mov
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triangulation taking place between
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positioned on one side of her, leav
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expression ‘more likely’ becaus
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Figure 3.7 Tranter and Muttirubbing
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about Lupus’ remark. By looking i
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Tranter to build a relation of self
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his directorial work as well as the
Page 145 and 146:
Twin Houses consists of a series of
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this quality should be applied to t
Page 149 and 150:
although it is not very clear wheth
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The Double has a more complete repr
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Double and sometimes the Man. This
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All of a sudden he takes her head i
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hand in order to diffuse all the mo
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never acknowledges the presence of
Page 161 and 162:
heads are covered with veils which
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elationship set between puppets and
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thinking about something. At the sa
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linked to the self. The irreal body
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separates from these Others when he
Page 171 and 172:
CHAPTER VTHE MAIDSONTOLOGY, DRAMATU
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original setting established by Gen
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of his shows during my research res
Page 177 and 178:
Apart from the head, the design of
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subjectness. Thus, it appeared nece
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Maids2, Claire suspends the alterit
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manipulacting because the productio
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of emotion it is usually translated
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also forced the performers to remai
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the energy and warmth coming from A
Page 191 and 192:
choices of relationship that were t
Page 193 and 194:
Nakamura with Ilka Schönbein at th
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strongly characterised in this firs
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on the telling of the story than on
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The audience could not see the conn
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the previous section. Live shadows
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weight. In order to move the puppet
Page 205 and 206:
Urashima Taro’s love. On one hand
Page 207 and 208:
UT3 is intended to go one step furt
Page 209 and 210:
consciousness is only directed towa
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One cannot help thinking that Otohi
Page 213 and 214:
do not perceive her but instead enc
Page 215 and 216:
CHAPTER VIIA METHOD OF PRACTICE FOR
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approach is through movement, it is
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gravity has to be understood in the
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using body-parts isolation which al
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Five possible calibrations of the g
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puppet without an articulated mouth
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Finally, as discussed in Chapter V
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CHAPTER VIIICONCLUSIONThe purpose o
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elationship. Sylvie Baillon, artist
Page 233 and 234:
Compagnie Mossoux-Bonté (2009) Sep
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Keene, D. (1973) Bunraku: The Art o
Page 237 and 238:
Podehl, E. (1991) ‘Ceux Qui Touch
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Tranter, N. (2009) Interview discus
Page 241 and 242:
APPENDIX AINTERVIEWSNicole MossouxN
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NM: Ce n’est pas si systématique
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PP: Est-ce que vous avez un autre r
Page 247 and 248:
PP: Pour vous c’est comme si vous
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PP: Qu’est-ce que vous appelez ex
Page 251 and 252:
PP: That came later somehow?NT: I c
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the puppet and starts to animate th
Page 255 and 256:
INTERVIEW WITH DUDA PAIVAANDEDERSON
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PP: It’s very Stanislavskian.DP:
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PP: There is also a pleasure to kno
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PP: Is it when you are very close t
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you are very important because you
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KK: Having seen many puppet shows a
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Postalgia (19mn)Filmed by Monika Ki
Page 269 and 270:
Urashima TaroUT1.1 (11mn)Filmed at
Page 271 and 272:
Cuniculus (2008)Stuffed Puppet Thea
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